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THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

ARCHIXSOZORI 

FROM  THE  LIBRARY  OF 

WARREN  CHARLES  PERRY 

DEAN.  SCHOOL  OF  ARCHITECTURE 

UNIVERSITY  OF  CALIF0RNL4,  BERKELEY 

1927-1949 


-^75^.    C,  /Q</oC 


COPYKIGHT,    1916 
BY 

PAUL  WENZEL  AND  MAURICE  KRAKOW 
New  York  City 


SECOND  PRINTING 1927 


PRINTED  IN  THE  UNITED  STATES  OF  AMERICA 


Add»l 


ARCH. 
LIBRARY 


INDEX 


Title  Page  designed  by  Lancelot  Suckert 

1  Florence,  Palazzo  Vecchio,  Marble  Door,  Fountain  in  Court 

2  Florence,  Palazzo  Vecchio,  Interior  with  Frescos  by  Vasari,  XVI  Century 

3  Interior  of  Artimino 

4  Florence,  Castle  di  Vincigliata,  Interior 

5  Florence,  Castle  di  Vincigliata,  Bedroom 

6  Florence,  Castle  di  Vincigliata,  Dining  Room 

Florence,  Castle  di  Vincigliata,  Room  with  Frescos  of  the  XIV  Century 

7  Florence,  Villa  del  Gallo,  Main  Entrance  Hall 

8  Florence,  Stibbert  Museum,  Entrance  Hall  to  the  Armory 

9  Florence,  Villa  Poggio  a  Cajano,  Grand  Salon 

Mantova,  Ducal  Palace,  The  Hall  of  Paradise  (XV  and  XVI  Century) 

10  Assisi,  Church  of  San  Francesco,  The  Nave 
Assisi,  Church  of  San  Francesco,  Interior 

11  Venice,  Church  of  the  Miracles,  Altar  by  Pietro  Lombardi 

Perugia,  Collegio  del  Cambio,  Audience  Chamber  by  Mattiolo  and  Antonibo 

12  Piedmont,  Castle  Delia  Manta,  Fireplace  and  Frescos,  XIII  Century 
Piedmont,  Castle  della  Manta,  Grand  Salon,  XIII  Century 

13  Mantova,  Palazzo  del  The,  Interior 

14  Rome,  Castle  S.  Angelo,  Kitchen,  XVII  Century 

15  Rome,  Sale  Borgia,  Hall  of  the  Life  of  the  Saints 
Rome,  Sale  Borgia,  The  Ponteficial  Hall 

16  Venice,  Doge's  Palace,  Senate  Chamber 

17  Venice,  Ducal  Palace,  Council  Room 
Venice,  Church  of  the  Salute,  Interior 

18  Interior  of  Artimino 

19  Castello  di  Collegno,  Entrance  Hall 

20  Turin,  Ante  Chamber  in  the  Feudal  Castle 

21  Turin,  Bed  Chamber  in  the  Feudal  Castle 

22  Venice,  Ducal  Palace,  Fireplaces  by  Tullio  Lombardi 

23  Venice,  Ducal  Palace,  Fireplaces  by  Pietro  Lombardi 

24  Urbino,  Ducal  Palace,  Fireplace  XV  Century 

Venice,  Ducal  Palace,  Fireplace,  XVI  Century,  by  Scamozzi 

25  Florence,  National  Museum,  Fireplace  by  L.  di  A  Guardiani,  1478 
Rome,  Fireplace  in  the  Sale  Borgia,  Hall  of  Arts  and  Sciences 

26  Sansepoloro,  Stone  Fireplace,  XIV  Century 

Pienza,  Palazzo  Piecolomini,  Stone  Fireplace  by  Bernardo  Rossellino 

27  Fireplace,  XV  Century 

Detail  of  Stone  Fireplace,  VX  Century 

28  Urbino,  Ducal  Palace,  Fireplace  in  the  Throne  Room,  XV  Century 


111 


745 


28  Venice,  Ducal  Palace,  Establature  of  Fireplace  by  Pietro  Lombardo 

29  Arezzo,  Stone  Fireplace  of  the  XVI  Century 
Urbino,  Stone  Fireplace  of  the  XVI  Century 

30  Faenza,  Public  Pinacotheque,  Stone  Fireplace  by  Donatelli 
Mantova,  Academy  Virgiliana,  Stone  Fireplace,  XVI  Century 

31  Citta  di  Castello,  Palazzo  Vitelli,  Fireplace,  XVI  Century 
Arezzo,  Palazzo  Fossombroni,  Fireplace  by  Simone  Moschini 

32  Arezzo,  Casa  Chianini,  Fireplace,  XVI  Century 
Foligno,  Palazzo  Comunale,  Fireplace,  XVI  Century 

33  Citerna,  Casa  Prosperi,  Stone  Fireplace,  XVI  Century 

Trento,  Palazzo  Geremia,  Stone  Fireplace  and  Stove,  XVI  Century 

34  Florence,  Gondi  Palace,  Fireplace  by  Giuliano  da  San  Gallo 

Florence,  National  Museum,  Stone  Fireplace  by  Benedetto  do  Rovezanno 

35  Florence,  Villa  Poggio  a  Cajano,  Fireplace 
Maser,  Villa  Giacomelli,  Fireplace 

36  Folding  Chairs,  XIV  Century  ^ 

37  Lectern,  XVI  Century 
Stool,  XV  Century 

38  Stools,  XVI  Century 

39  Stools,  XVI  Century 

40  Florence,  3  Chairs  in  the  National  Museum,  XVI  Century 

41  Venice,  Doge's  Chair  in  the  Basilica  of  St.  Mark's 
Choir  Stall,  XVI  Century 

42  Florence,  Villa  di  Poggio  a  Cajano,  Chairs  and  Writing  Desk,  XVI  Century 

43  Milan,  Civic  Museum,  Chairs  and  Stool,  XVI  and  XVII  Century 

44  Lucca,  Pellegrini  Palace,  Chairs,  XVII  Century 

45  Chairs,  XVII  Century 

46  Florence,  National  Museum,  Chairs,  XVII  Century 

47  Lucca,  Pellegrini  Palace,  Chairs  and  Stand,  XVII  Century 

48  Chairs  of  the  XVI  Century  in  the  Metropolitan  Museum,  New  York 

49  Chairs,  XVI  Century 

50  Arm  Chair,  XVI  Century 
Arm  Chair,  XVII  Century 

51  Chairs,  early  XVIII  Century 

52  Stool  and  Arm  Chair,  early  XVIII  Century 
Chair,  early  XVIII  Century 

53  Piedmont,  Civic  Museum,  Tables  of  the  XVI  and  XVII  Century 

54  Turin,  Tables  in  the  Civic  Museum,  XVI  Century 

55  Table  of  the  XVI  Century  in  the  Metropolitan  Museum,  New  York 
Florentine  Table  of  the  XVI  Century 

56  Florentine  Tables,  XVI  Century 

57  Writing  Desk,  XVI  Century 
Stool,  XVI  Century 

58  Florence,  Museum  di  San  Marco,  Wardrobe,  XVI  Century 
Florence,  National  Museum,  Sideboard,  XVI  Century 

59  Milan,  Two  Sideboards  in  the  Mova  Collection,  XVI  Century 


IV 


60  Parma,  Wardrobes  in  Archaeological  Museum,  XVII  Century 

61  Sideboards  and  Writing  Desk,  XVI  Century 

62  Florentine  Bench,  XVI  Century 
Clothes  Hangers,  XVI  Century 

63  Trent,  Chests  and  Wardrobe,  XVI  Century 

64  Parma,  Museum  of  Antiquities,  Chair,  XVI  Century 
Florence,  Bench,  XVI  Century 

65  Florentine  Chest,  XVI  Century 

Lucca,  Pellegrini  Palace,  Cassapanca,  XVI  Century 

66  Florence,  National  Museum,  Chest,  XVI  Century 
Florence,  National  Museum,  Chest,  XVI  Century 
Milan,  Civic  Museum,  Chest,  XVI  Century 

67  Florence,  Church  of  the  Holy  Spirit,  Choir  Seats 
Spoleto,  Chest  in  Public  Pinacotheque 

68  Milan,  Civic  Museum,  Chest,  XVI  Century 
Parma,  Museum  of  Antiquities,  Chest  XVI  Century 
Florence,  National  Museum,  Chest,  XVI  Century 

69  Chests  of  the  XV  and  XVI  Century 

70  Siena,  Palazzo  della  Signoria,  Chest  by  Antonio  Barili 
Florence,  National  Museum,  Chests,  XVI  Century 

71  Frames  in  the  Art  Industrial  Museum  Berlin,  XVI  Century 

72  Frames  in  the  South  Kensington  Museum,  London,  XVI  Century 

73  Siena,  Palazzo  del  Magnifico,  Bronze  Door  Knockers 

74  Venice  Door  Knockers,  XVI  Century 

75  Venice,  Door  Knockers,  XVI  Century 

76  Venice,  Door  Knockers,  XVI  Century 

77  Candelabra  of  the  XV  and  XVI  Century 

78  Urbino,  Candelabrum,  XVI  Century 
Florentine  Candelabrum,  XVI  Century 

79  Florentine  Candelabra,  XVI  Century 

80  Candelabra  of  the  XVI  and  XVII  Century 

81  Siena  Cathedral,  Detail  of  Pulpit  by  Bernardino  di  Giacoma  1543 
Impruneta  near  Florence,  Collegiate  Church,  Chancel,  XVII  Century 

82  Rome,  Vatican,  Sistine  Chapel,  Part  of  Balustrade,  XV  Century 


INTRODUCTION 

ALL  roads  lead  to  Rome,"  if  we  may  believe  the  old  proverb.  They  do  eventually  in 
JlX.  Western  civilisation  at  any  rate  and  Italian  influence,  sharing  the  eternal  quality  of 
the  Eternal  City's  mystic  spell,  has  been  so  universally  and  beneficially  felt  for  centuries, 
throughout  the  Western  world,  in  all  the  arts  that  neither  apology  nor  commendation  is 
needed  for  a  volume  that  avoids  intermediary  channels  and  brings  architects,  decorators, 
designers  of  furniture,  and  others  concerned  with  the  decorative  arts,  directly  face  to  face 
with  Italian  interiors  of  the  Renaissance  and  the  contemporary  furniture  for  those  interiors, 
in  the  shape  of  examples  drawn  from  the  best  museum  collections  in  Italy  and  elsewhere  in 
Europe,  and  in  America.  The  timeliness  of  this  volume  cannot  fail  to  be  apparent  to  all 
who  realise  the  strong  and  rapidly  increasing  disposition  on  the  part  of  American  architects 
to  incorporate  features  of  Italian  provenience  in  their  design,  especially  in  the  planning  of 
country  houses. 

The  Romans,  of  all  the  peoples  of  antiquity,  were  nothing  if  not  pre-eminently  and 
intensely  practical.  They  had  a  special  and  masterful  genius  for  utilitarian  achievement. 
Witness  their  mighty  engineering  feats — aqueducts,  viaducts,  sewers,  military  roads,  baths, 
defensive  works — constructed  wherever  the  Roman  power  extended,  and  so  well  built 
that  many  of  them,  with  trifling  repairs,  would  serve  exacting  modern  demands  as  well  as 
they  did  the  requirements  of  their  builders  in  the  days  of  the  Caesars.  Practicality,  indeed, 
was  one  of  the  Romans'  dominant  and  distinguishing  traits.  But,  combined  with  all  their 
ever  present  practicality  was  the  force  of  fertile  Latin  imagination  and  its  concomitant 
appreciation  of  beauty,  so  that  they  were  irresistibly  constrained  to  add  grace  as  a  basic 
ingredient  in  the  design  of  all  their  creative  work.  If  one  wishes  a  very  humble  and  common- 
place, and  for  that  reason  all  the  more  valuable  and  convincing,  instance  of  this  innate 
impulse  and  genius  for  felicitously  uniting  beauty  with  utility,  a  glance  at  the  pots  and 
pans  and  commonest  crockery  should  be  sufficient  to  dispel  all  doubt.  These  all  possessed 
grace  of  contour  and  often  grace  of  decorative  detail  besides. 

The  mantle  of  the  old  Romans  fell  upon  their  Renaissance  descendants  and  the  inherited 
instinct  for  inseparably  blending  the  beautiful  with  the  useful  again  shone  forth  under  the 
impetus  of  renewed  creative  vigour,  taking  concrete,  tangible  form  in  the  architectural 
and  other  decorative  art  manifestations  of  the  exuberant  Renaissance  epoch.  In  architecture, 
along  with  an  unerring  sense  of  just  and  true  proportion,  this  fortunate  faculty  for  creating 
an  intimate  relationship  between  the  beautiful  and  the  useful,  at  the  same  time  eliminating 

vii 


all  that  was  non-essential,  gave  Renaissance  buildings  poise  and  sanity  and  their  perennially 
vital  quality  that  made  them  such  trustworthy  examplars  and  rich  sources  of  inspiration 
for  all  succeeding  generations,  our  own  no  less  than  those  that  immediately  followed.  In 
the  treatment  of  interiors,  the  designing  of  furniture  and  the  practice  of  other  decorative 
arts,  the  same  conditions  obtained  no  less  than  in  matters  purely  architectural. 

Fortunately,  for  some  years  past,  there  has  been  an  increasing  realisation  of  an  old 
truth  that,  for  a  time,  had  suffered  a  partial  eclipse  of  oblivion  in  quarters  where  it  ought 
always  to  have  been  fully  honoured.  This  truth  is  that  of  the  close  and  necessary  connexion 
existing  between  furniture  and  architecture.  One  cannot  intelligently  study  the  furniture 
of  a  country  without  knowing  the  character  of  the  architectural  environment  in  which  it 
was  customarily  placed  nor,  on  the  other  hand,  can  one  fully  appreciate  architectural  interiors 
without  some  knowledge,  at  least,  of  the  mobiliary  complement  with  which  they  were  wont 
to  be  equipped.  While  this  condition  applies  universally,  it  applies  with  especial  force  in 
the  case  of  Italian  Renaissance  interiors  and  furniture  for  reasons  which  will  in  due  course 
appear. 

The  Italian  Renaissance  interior  was  either  richly  ornate  with  all  the  wealth  of  poly- 
chrome treatment  that  could  be  applied  to  walls  and  ceiling,  such  as  the  main  entrance 
hall  in  the  Villa  del  Gallo  in  Florence,  the  gallery  in  the  Palazzo  del  The  in  Mantua,  the 
hall  in  the  Villa  Poggio  Cajano  in  Florence,  and  other  examples  shown  in  the  following 
plates — or  else  it  was  severely  simple  and  even  austere  with  points  of  concentrated  enrich- 
ment only  where  they  would  give  the  greatest  emphasis,  such  as  some  of  the  rooms  in  the 
Palazzo  Davanzati  or  the  Villa  Curonia.  The  feature  of  concentrated  enrichment  might 
be  an  opulence  of  carving  on  the  overmantel,  or  it  might  be  the  multi-coloured  decoration 
of  painted  and  gilt  ceiling  beams  and  panels,  or  of  polychrome  doors;  in  any  case,  walls 
plain  to  severity  served  as  foils  and  intensified  the  effect  of  the  carved  or  painted  enrichment. 
There  was  little  attempt  to  create  interiors  of  a  mixed  composition  by  mingling  moderate 
opulence  with  medium  austerity,  with  the  almost  inevitably  disastrous  results  attendant 
upon  such  a  course.  The  designers  of  those  rooms  and  of  the  furniture  that  went  into  them 
were  too  wise  for  that.  They  knew  they  would  lose  all  the  advantage  of  contrast  by  so  doing 
and  they  had  too  much  reverence  for  the  principles  of  contrast  and  restraint.  The  aus- 
terity or,  as  some  would  call  it,  the  bareness  of  sixteenth  century  Italian  interiors  was  the 
calculated  emptiness  of  restraint  and  reserve — this  subtle  quality  many  of  the  cleverest 
decorators  are  now  reaching  out  to  achieve — and  not  the  emptiness  of  jejune  and  poverty- 
stricken  imagination.  To  this  very  emptiness  and  austerity  of  reserved  strength  is  due  no 
small  measure  of  the  qualities  of  permanence,  repose,  sincerity  and  dignity  inherent  in  the 
rooms  of  sixteenth  century  Italian  houses,  qualities  they  never  could  have  possessed  had 

viii 


they  been  subjected  to  some  of  the  modern  hectic  efforts  to  create  "cozy"  interiors  by  loading 
them  with  trifling,  senseless  gew-gaws. 

At  the  antipode  from  these  refreshingly  austere  compositions,  the  richly  ornate  interiors 
— they  belonged  especially  to  public  buildings  and  city  palaces  while  those  of  plainer  type 
were  to  be  found  in  the  less  pretentious  houses  and  in  country  villas — could  stand  all  the 
polychrome  embellishment  lavished  upon  them  because  their  well  disposed  architectural 
lines  were  strong  enough  to  create  the  necessary  balance.  Even  these  ornate  interiors, 
notwithstanding  their  sumptuous  decoration  and  vivid  colour,  possess  the  cardinal  virtues 
of  restraint  and  virility. 

As  to  composition  and  arrangement,  it  is  singularly  gratifying  to  see  the  entire  freedom 
from  the  distressing  shagginess  and  overcrowding  that  too  often  mar  modern  interiors 
that  might  be  really  excellent  if  those  responsible  for  their  execution  would  only  hold  them- 
selves in  check  and,  when  they  have  done  enough,  refrain  from  adding  a  sickening  array  of 
meaningless  and,  needless  to  say,  useless  fiddle-de-dees  and  fol-de-rols  that  give  a  room  a 
fussy  and  trivially  effeminate  air.  In  his  book  on  the  smaller  Italian  villas,  Guy  Lowell 
has  pertinently  observed  that  it  seems  to  him  "that  the  greatest  interest  for  us  Americans 
to-day  in  the  Italian  villas  of  the  Renaissance  does  not  so  much  lie  in  their  anecdotal  history" 
with  its  strong  stimulus  to  the  imagination,  "as  in  a  consideration  of  the  habit  of  life  and 
the  social  customs  that  seemed  to  make  them  necessary."  While  this  comment  was  made 
more  particularly,  perhaps,  with  reference  to  exterior  composition,  it  applies  with  equal 
force  to  the  treatment  of  interiors.  The  habit  of  life  in  American  country  houses  approx- 
imates, in  a  measure,  the  habit  of  life  in  Renaissance  Italian  villas.  The  occupants  of  those 
villas  were  an  outdoor  people  with  an  intense  love  for  their  gardens  and  all  outdoor  interests, 
just  as  are  the  occupants  of  the  majority  of  our  own  country  places.  The  general  similarity 
of  climatic  conditions,  too,  argues  the  wisdom,  for  us,  of  cool,  restrained  interior  composition, 
no  less  than  for  them.  Between  their  houses  and  their  gardens  there  was  a  conspicuous 
degree  of  unity.  The  garden  was  an  expanded  outdoor  living  apartment  of  many  moods 
while  the  dwelling  was,  to  a  great  extent,  a  casino  or  garden  house.  The  same  feeling  per- 
vaded both.  This  ideal  commends  itself  to  many  Americans  and  they  seek  to  realise  it. 
Through  the  analogy,  therefore,  Italian  Renaissance  interiors  and  furniture  make  a  practical 
appeal  to  our  consideration  and  provide  abundant  scope  for  adaptation. 

It  has  been  sometimes  urged,  in  a  spirit  of  objection,  that  both  Renaissance  interiors, 
as  complete  compositions,  and  also  the  pieces  of  furniture,  as  individual  items,  lacked  com- 
fort, the  latter  being  neither  "so  numerous  nor  yet  so  skilfully  designed  to  the  requirements 
of  the  human  frame"  as  much  of  the  mobiliary  equipment  rejoicing  in  "the  wealth  of  lux- 
uriously comfortable  designs  that  came  a  little  later  chronologically  in  France  and  England." 


IX 


While  the  latter  part  of  this  objection  may  well  be  left  to  be  considered  in  a  subsequent 
paragraph,  devoted  entirely  to  furniture  details,  it  should  be  noted,  with  reference  to  the 
stricture  upon  general  composition  and  the  absence  of  the  varied  "wealth  of  luxuriously 
comfortable  designs"  conspicuous  some  years  later  in  England  and  France,  that,  for  the 
outdoor  Italians  with  their  climate,  austerity  and  restraint  in  furnishing  were  positive 
merits,  from  an  wholly  practical  point  of  view,  leaving  taste  altogether  out  of  the  question, 
and  that  the  "almost  cluttering  'comfort'  of  later  French  and  English  interiors,  permissible, 
perhaps,  in  a  colder  climate,  would  have  been  inappropriate  and  disadvantageous."  We 
are  gradually  learning — although  we  still  have  much  to  learn — the  worth  of  austerity  and 
"emptiness"  in  furnishing,  not  only  country  houses  for  summer  occupancy,  but  also  our 
too  much  upholstered  and  bedraped  dwellings  for  the  cooler  months  and  we  cannot  do 
better  than  study  Italian  Renaissance  models  in  this  respect.  The  major  items  of  equipment 
were  not  necessarily  far  fewer  in  number  than  in  some  more  recent  modes  of  furnishing, 
but  they  were  apt  to  be  either  individually  better  or  more  carefully  placed  and  there  was  no 
surplus  of  fussy  nonentities. 

The  quality  of  Italian  Renaissance  interiors  in  affording  adequate  backgrounds  is  one 
of  the  most  essentially  important  things  for  us  to  recognise.  In  the  simpler  compositions, 
the  quiet  surfaces  of  plain,  light  walls,  in  rooms  with  high  vaulted  or  beamed  ceilings,  pro- 
vided an  ideal  background  for  richly  wrought  furniture,  not  too  much  of  it  and  carefully 
placed,  or  an  admirable  foil  to  stress  the  contrast  of  small  areas  of  rich  carved  or  coloured 
decoration.  In  the  interiors  where  the  fixed  features  were  more  elaborate  and  chromatically 
gorgeous,  good  judgment  in  placing  and  discretion  in  the  amount  of  movable  appointments 
used  were  still  conspicuous  characteristics,  and  the  furniture  of  the  period  possessed  the 
rare  quality  of  almost  universal  adaptability,  so  that  it  looked  equally  well  in  either  ornate 
or  simple  environment.  The  one  kind  of  misuse  of  which  Italian  Renaissance  furniture 
was  absolutely  intolerant,  whether  in  large  rooms  or  small,  was  crowding.  The  smaller 
pieces  are  of  scale  and  bearing  that  demand  elbow  room,  while  the  larger  articles  absolutely 
require  space  and  freedom  from  small  distracting  objects  in  their  vicinity  in  order  to  display 
properly  their  dignity  and  the  refinement  of  their  contour,  to  say  nothing  of  the  carving, 
the  polychrome  decoration  or  the  colour  of  the  upholstery,  when  any  of  these  features  are 
present.  In  other  words,  it  needs  perspective  and  such  perspective  as  cannot  be  had  in  a 
crowded  room  with  an  "overstuffed  atmosphere,"  where  a  multiplicity  of  colours,  contours 
and  designs  produces  an  indefinite  impression  of  confusion  and  choking.  Few  rooms  could 
stand  many  of  the  more  ornate  pieces  of  Renaissance  cabinet  work,  whether  polychrome  or 
carved,  and  it  was  not  intended  they  should.  To  have  had  more  than  a  few  would  have  been 
like  trying  to  make  an  entire  dinner  on  plum  pudding. 


In  the  galleries  and  lofty  salons,  with  j^ainted  or  deeply  carved  and  gilded  ceilings, 
walls  bright  with  frescoes  or  covered  with  tapestry  or  rich  hangings  of  velvet  or  stamped 
and  gilt  leather,  and  floors  inlaid  with  intricate  mosaics,  the  array  of  movable  furniture — 
the  gorgeous  Cassoni  were  the  most  conspicuous  objects — was  designedly  scant,  judged 
by  later  standards,  for  too  many  pieces  would  have  marred  the  symmetry  of  the  com- 
jx)sition.  In  apartments  where  the  setting  was  severely  simple  and  all  the  fixed  decoration 
confined  to  one  or  two  emphatic  features — the  door,  or  ceiling  or  overmantel — contempor- 
ary ideals  of  decorative  propriety  still  required  that  important  pieces  of  furniture  be  few  in 
number,  for  if  they  exceeded  a  certain  limit  the  character  of  the  room  would  be  destroyed, 
the  force  of  contrast  between  the  furniture  and  its  background  impaired  and  the  striking 
effect  gained  by  the  concentration  of  enrichment  at  a  few  points  on  a  plain  surface  lost. 
Allusion  has  already  been  made  to  the  adaptability  of  Italian  Renaissance  furniture  and  its 
fortunate  quality  of  looking  equally  well,  no  matter  whether  the  room  in  which  it  stood  was 
plain  to  the  last  degree  or  gorgeous  with  a  profusion  of  colour  and  design.  In  one  case  there 
was  an  harmony  of  contrast;  in  the  other,  an  harmony  of  analogy.  Who  shall  say  that 
the  background  was  not  carefully  considered  before  the  furniture  was  designed?  It  is 
not  unreasonable  to  accept  this  hypothesis  as  explaining,  in  part,  why  some  of  the  furniture, 
quite  apart  from  being  the  fruit  of  a  rich  and  vigorous  imagination,  was  covered  with  a 
profusion  of  carving  or  colour  or  both.  Another  secret  of  the  suitability  of  Italian  Renais- 
sance furniture  to  its  environment,  whether  utterly  plain  or  highly  elaborate,  was  that  it 
was  thoroughly  architectural  in  its  lines,  detail  and  method  of  structure;  the  interiors  for 
which  it  was  made,  rigidly  plain  as  some  of  them  might  be,  were  always  obviously  archi- 
tectural in  composition.  This  common  quality,  shared  by  both  in  large  measure,  created 
the  bond  of  sympathy  and  assured  harmony,  regardless  of  whatever  other  elements  of 
diversity  or  contrast  might  occur. 

The  fireplace,  being,  as  it  is,  one  of  the  features  of  natural  emphasis  in  a  room,  it  is  not 
surprising  to  find  the  Renaissance  architect  and  craftsman  lavishing  some  of  their  best 
efforts  upon  the  adornment  at  its  sides  and  above  it.  Realizing  that  the  mantel  may  often 
prove  a  middle  ground  and  point  of  contact  between  architecture,  in  its  narrowest  inter- 
pretation, and  furniture,  they  frequently  gave  rein  to  a  delightful  play  of  fancy  in  their 
work  and  the  Renaissance  mantels  afford  numerous  examples  of  some  of  the  happiest  achieve- 
ments of  the  versatile  artist-architect-craftsmen  whose  names  posterity  has  been  proud  to 
associate  with  the  enduring  fruit  of  their  genius.  The  illustrations  are  so  eloquent  that  they 
had  best  be  left  to  speak  for  themselves  and  voice  their  own  message  of  inspiration  to  the 
modern  designer. 

An  examination  of  the  furniture  illustrations  will  show  that  it  is  not  alone  the  archi- 
tecture of  the  Italian  Renaissance  that  has  exercised  a  very  vital  and  immediate  influence 


XI 


upon  the  design  of  subsequent  periods.  Knowing  the  date,  or  the  approximate  date,  at 
which  certain  forms  appeared  in  Italy,  it  is  not  only  possible  but  fascinating  and  instructive 
to  see  how  those  forms  were  afterwards  either  closely  reproduced  or  else  adapted  in  France, 
Spain,  Flanders  and  England.  The  peculiarities  of  adaptation  in  the  different  lands  supply 
a  curious  commentary  on  national  taste.  At  the  same  time,  it  must  be  remembered  that 
a  great  many  Italian  craftsmen  found  their  way  into  all  these  countries  and  carried  the 
designs  with  them  It  is  matter  of  history  that  Italian  craftsmen  both  met  with  a  ready 
welcome  in  England  and  France  and  were  actually  fetched  from  Italy,  on  some  occasions, 
and  kept  busily  employed.  As  a  striking  instance  of  this  transference  of  styles,  attention 
may  be  called  to  the  early  seventeenth  century  rush-bottomed  side  chair  (from  the  Art 
Industrial  Museum  in  Berlin)  with  a  back  composed  of  two  arcades  of  finely  turned  balus- 
trades and  a  shaped  cresting.  A  glance  will  reveal  the  resemblance  borne  to  this  type  by 
chairs  made  a  few  years  later  in  Yorkshire  and  Lancashire.  Again,  the  chair  with  elaborately 
carved  C  and  S  scroll  back,  and  shell  and  acanthus  cresting,  a  chair  which  the  Baroque 
influence  has  run  riot,  finds  almost  its  counterparts  in  Holland  and  eventually  in  England 
during  the  reign  of  William  and  Mary.  Despite  the  many  cases  of  style  migration  there 
were,  however,  certain  features  of  detail  and  certain  types  of  contour  that  always  remained 
characteristically  Italian. 

The  splendid  chests  or  Cassoni  probably  received  the  lion's  share  of  attention  at  the 
hands  of  designers  and  craftsmen  and  when  eminent  artists  "deemed  it  worthy  of  their 
best  efTorts  to  design  a  single  piece  of  furniture  and  execute  it  with  their  own  hands  with 
the  utmost  study  and  care,  as  an  independent  and  complete  work  of  art,"  it  is  no  wonder 
that  the  results  of  their  mobiHary  handiwork  have  commanded  the  admiration  of  all  who 
have  come  after  them.  Nor  is  it  to  be  wondered  at,  when  Botticelli  or  Andrea  del  Sarto, 
and  the  cleverest  of  their  pupils,  painted  chest  panels,  or  when  Donatello  and  Bernardino 
Ferrante  carved  them,  that  they  should  be  prized  by  their  owners  and  so  placed  that  other 
pieces  would  not  detract  from  their  charm  by  being  too  near. 

The  carving  on  these  chests,  as  also  upon  the  wardrobes  or  armoires,  benches,  buffets, 
cupboards  and  tables  was  vigorous,  sweeping,  "deep  and  full  of  character  and  not  at  all 
like  some  of  the  later  emasculated  manifestations,  so  forced  into  a  sand-papered  refinement" 
that  the  traces  of  the  carver's  art  seem  scarcely  more  than  skin-deep.  This  boldness  and 
vigour,  however,  did  not  mean  crudity,  and  the  carving  on  some  of  the  chairs  and  other 
pieces  attests  how  delicate  the  Italian  Renaissance  carver's  touch  could  be. 

In  structure,  the  sixteenth  century  Italian  furniture  was  thoroughly  sound  and  durable 
and  built  with  such  obvious  regard  for  architectural  principles  that  it  is  often  criticised  as 
uncomfortable.    This  criticism  is  scarcely  just.     Most  of  the  chairs  and  benches  were  high- 


seated — much  higher  from  the  floor  than  our  own  chairs  and  benches  and  too  high  for 
comfort  for  anyone  without  phenomenally  long  legs.  But  it  must  be  remembered  that 
footstools  were  used  and,  once  seated  with  a  rest  for  the  feet,  these  chairs  are  comfortable. 
They  are  not  flabbily  luxurious,  for  the  men  and  women  of  the  Renaissance,  however  lux- 
urious in  their  tastes,  were  not  flabby  in  mind  nor  habits,  but  vigorous  and  red-blooded, 
and  it  is  not  to  be  expected  that  their  furniture  should  suggest  flabbiness. 

Other  evidences  of  a  wholesome,  virile  luxury  are  to  be  seen  in  the  candelabra,  which, 
by  the  way,  exhibit  some  charmingly  delicate  carving  that  shows  quite  as  much  verve  as 
the  bolder  pieces  already  alluded  to;  the  mirror  and  picture  frames;  and  the  exquisitely 
modelled  bronze  and  iron  door  knockers  illustrated  at  the  end  of  the  book.  In  all  the 
examples  presented,  though  many  of  them  bear  witness  to  a  taste  for  brilliant  colouring 
and  vigorously  elaborate  detail  of  ornamental  relief  much  too  strong  for  numerous  folk  in 
an  age  when  vigour  and  enthusiasm  and  outspoken  admiration  are  apt  to  be  branded  as 
"in  bad  form,"  there  is,  nevertheless,  an  underlying  grace  of  contour  and  balance  of  pro- 
portion that  become  especially  noticeable  in  the  simpler  pieces  such  as  the  comparatively 
plain  cupboards  and  press-like  secretaries,  the  benches  in  the  church  of  St.  Francis  at  Assisi 
or  even  the  table  in  the  kitchen  of  the  Castle  of  St.  Angelo.  This  refinement  of  line  con- 
stitutes one  of  the  vital  qualities  of  all  the  furniture  of  this  period. 

A  return  to  the  well-spring  of  Italian  Renaissance  inspiration,  such  as  one  may  readily 
make  in  the  following  pages  of  illustrations,  has  always  richly  repaid  the  seekers,  no  matter 
how  much  they  may  have  exercised  their  powers  of  adaptation  afterwards.  It  repaid  the 
French  and  English  of  the  sixteenth,  seventeenth  and  eighteenth  centuries  and  we  are 
just  beginning  to  realise  how  fully  the  study  of  the  achievements  of  sixteenth  century 
Italy  may  also  repay  us  in  meeting  twentieth  century  architectural  and  mobiliary  needs. 


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PERUGIA— COLLEGIO  DEL  CAMBIO— AUDIENCE  CHAMBER  BY  MATTIOLO  AND  ANTONIBO 


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PIEDMONT— CASTLE  DELLA  MANTA— FIREPLACE  AND   FRESCOS,   XIII   CENTURY 


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VENICE— DUCAL  PALACE— COUNCIL  ROOM 


VENICE-CHURCH   OF  THE  SALUTE-INTERIOR 

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INTERIOR  OF  ARTIMINO 


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PI ENZ A— PALAZZO  PICCOLOMINI— STONE  FIREPLACE  BY  BERNARDO  ROSSELLINO 

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FIREPLACE,  XV  CENTURY 


DETAIL  OF  STOXE  FIREPLACE,  X\^  CENTURY 

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VENICE-DUCAL  PALACE— ENTABLATURE  OF  FIREPLACE  BY  PIETRO  LOMBARDO 


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FLORENTINE  CHEST,  XVI  CENTURY 


LUCCA— PELLEGRINI  PALACE— CASSAPANCA.  XVI   CENTURY 

66 


FLOREXCK— XATIOXAL    MUSEUM— CIIICST,    X\  I    Cl'.XTURY 


-/ 


MILAN-CIVIC  MUSEUM— CHEST,  XVI  CENTURY 

66 


1  and  2.    FLOREXCE-CHURCH  OF  THE  HOLY  SPIRIT-CHOIR  SEATS 
3.     SPOLETO-CHEST  IN  PUBLIC   PINACOTHEQUE 


6r 


MILAN— CIVIC  MUSEUM— CHEST,  XVI  CENTURY 


PARMA— MUSEUM   OF  ANTIQUITIES— CHEST,   XVI  CENTURY 


WIIP' 


FLORENCE— NATIONAL   MUSEUM— CHEST,    XVI    CENTURY 

68 


*inf*-^ 


/ 


GHESTS  OF  THE  XV  AND  XVI  CEN'TURY 


69 


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-1  Li     in     111     n  r 


Vi\""[ff 


FRAMES  IN  THE  ART  INDUSTRIAL  MUSEUM,  BERLIN-XVI  CENTURY 


71 


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VENICE— DOOR  KNOCKERS,  XVI  CENTURY 

75 


't.m^i'^K'^'srmsmi 


VENICE— DOOR  KNOCKERS,  XVI  CENTURY 
76 


s 


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SIEXA  CATHEDRAL— DETAIL  OF  PULPIT  BY  BERNARDINO  DI  GIACOMO  (1343) 


IMPRUNETA  NEAR  FLORENCE— COLLEGIATE  CHURCH— CHANCEL,  XVII  CENTURY 

81 


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CO 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 


This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Rene-wed  bookiare  subjeCT  to  immediate  recall. 

MAR  yft  1966 — 


I'iAY  6    1966 


OCT  11  1966 


FEB2C1SG8 


— MAR10tS7f 

QUE  END   nECALLADLE  ONE  WE^K  AFTEB_ 


WINTER MA«-5 — ^7^ 


PERIOD 


DEC  1  9  1^^4 


^^ff  0  ^  '1000 


LD  21-100m-6,'56 
(B9311sl0)476 


General  Library 

University  of  California 

Berkeley 


'Ifff' 

, 

CD3^a7S37□ 

I 


